American Cinematographer - May 2016 - 55

Vallée mans the camera for an exterior scene with Gyllenhaal.

The biggest lighting setup was
for a night exterior involving a water
tower near Karen's house - a scene
which, in the film's final cut, is quite
"short and subtle," Bélanger notes.
Vallée loved the visual when he first saw
the location and wrote it into the script
as "Chris' lookout." It was up-lit by four
Arri T12 10K Fresnels that were
dimmed low, along with five Source
Four fixtures.
A high-angle POV was shot
from the tower's upper level as Chris
peers through binoculars to spy on his
mother when Davis first visits her.
Additionally, Bélanger shot an overthe-shoulder cheat from a ladder with
the boy on a lower level of the tower.
Laughing, Velez recalls the extent of
Bélanger's efforts: "Yves was ready to
shoot over Judah's shoulder as he looked
at the house 400 feet away, and he just
said, 'Oh, damn,' handed his camera to
his assistant and ran down the 12-step
ladder toward the house. There was one
little sconce inside the house - a practical with a socket dimmer - and he
ran up to it, dimmed it down 20
percent, ran all the way back and up the
ladder and said, 'Okay, we're ready!' He
wanted to just do it himself and get it
perfect."
When Davis and Karen visit her

pot dealer at a Coney Island warehouse,
they are treated to the sight of an abandoned carousel hidden behind a
curtain. Prepping this scene required a
member of the electrical crew to spend
four days wiring the 300-plus sockets
that held 25-watt G16.5 clear candelabra globe bulbs under the carousel's
canopy. True to the filmmakers' less-ismore mantra, Bélanger ended up turning off many of those circuits, especially
for close-ups, to add contrast.
Additionally, the back of the canvas that
covered the merry-go-round was lit
with a warm glow from a pair of
dimmed-down blondes.
Davis puts the restored carousel
back to use at Coney Island, but the
functioning ride was actually shot with
the actors in Brooklyn's DUMBO
neighborhood, requiring visual-effects
supervisor Marc Côté of Montreal's
Fake Digital Entertainment to perform
some significant magic. "We filmed the
carousel first so we knew what shots we
had and what plates we needed, and
then we shot the plates at Coney
Island," Vallée explains. "We didn't put
greenscreen around the carousel, and
we shot everything handheld, and then
[Côté's crew] rotoscoped it and
composited it with all the other plates.
It's a visual-effects tour de force." ➣
55



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Table of Contents for the Digital Edition of American Cinematographer - May 2016

Contents
American Cinematographer - May 2016 - Cover1
American Cinematographer - May 2016 - Cover2
American Cinematographer - May 2016 - 1
American Cinematographer - May 2016 - 2
American Cinematographer - May 2016 - Contents
American Cinematographer - May 2016 - 4
American Cinematographer - May 2016 - 5
American Cinematographer - May 2016 - 6
American Cinematographer - May 2016 - 7
American Cinematographer - May 2016 - 8
American Cinematographer - May 2016 - 9
American Cinematographer - May 2016 - 10
American Cinematographer - May 2016 - 11
American Cinematographer - May 2016 - 12
American Cinematographer - May 2016 - 13
American Cinematographer - May 2016 - 14
American Cinematographer - May 2016 - 15
American Cinematographer - May 2016 - 16
American Cinematographer - May 2016 - 17
American Cinematographer - May 2016 - 18
American Cinematographer - May 2016 - 19
American Cinematographer - May 2016 - 20
American Cinematographer - May 2016 - 21
American Cinematographer - May 2016 - 22
American Cinematographer - May 2016 - 23
American Cinematographer - May 2016 - 24
American Cinematographer - May 2016 - 25
American Cinematographer - May 2016 - 26
American Cinematographer - May 2016 - 27
American Cinematographer - May 2016 - 28
American Cinematographer - May 2016 - 29
American Cinematographer - May 2016 - 30
American Cinematographer - May 2016 - 31
American Cinematographer - May 2016 - 32
American Cinematographer - May 2016 - 33
American Cinematographer - May 2016 - 34
American Cinematographer - May 2016 - 35
American Cinematographer - May 2016 - 36
American Cinematographer - May 2016 - 37
American Cinematographer - May 2016 - 38
American Cinematographer - May 2016 - 39
American Cinematographer - May 2016 - 40
American Cinematographer - May 2016 - 41
American Cinematographer - May 2016 - 42
American Cinematographer - May 2016 - 43
American Cinematographer - May 2016 - 44
American Cinematographer - May 2016 - 45
American Cinematographer - May 2016 - 46
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American Cinematographer - May 2016 - 48
American Cinematographer - May 2016 - 49
American Cinematographer - May 2016 - 50
American Cinematographer - May 2016 - 51
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American Cinematographer - May 2016 - 53
American Cinematographer - May 2016 - 54
American Cinematographer - May 2016 - 55
American Cinematographer - May 2016 - 56
American Cinematographer - May 2016 - 57
American Cinematographer - May 2016 - 58
American Cinematographer - May 2016 - 59
American Cinematographer - May 2016 - 60
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